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the ladies who are making a mitre； there is a child who has got a
cake； and another has some fruitpossibly given them by the Virgin…
…and a third child is begging for some of it。 The light failed so
completely here that I was not able to photograph any of these
figures。 It was a dull September afternoon； and the clouds had
settled thick round the chapel； which is never very light； and is
nearly 4000 feet above the sea。 I waited till such twilight as made
it hopeless that more detail could be gotand a queer ghostly place
enough it was to wait inbut after giving the plate an exposure of
fifty minutes； I saw I could get no more； and desisted。
These long photographic exposures have the advantage that one is
compelled to study a work in detail through mere lack of other
employment； and that one can take one's notes in peace without being
tempted to hurry over them； but even so I continually find I have
omitted to note； and have clean forgotten； much that I want later
on。
In the other annex there are also one or two younger children； but
it seems to have been set apart for conversation and relaxation more
than any other part of the establishment。
I have already said that the work is signed by an inscription inside
the chapel； to the effect that the sculptures are by Pietro Aureggio
Termine di Biella。 It will be seen that the young ladies are
exceedingly like one another； and that the artist aimed at nothing
more than a faithful rendering of the life of his own times。 Let us
be thankful that he aimed at nothing less。 Perhaps his wife kept a
girls' school； or he may have had a large family of fat； good…
natured daughters； whose little ways he had studied attentively； at
all events the work is full of spontaneous incident； and cannot fail
to become more and more interesting as the age it renders falls
farther back into the past。 It is to be regretted that many
artists； better known men； have not been satisfied with the humbler
ambitions of this most amiable and interesting sculptor。 If he has
left us no laboured life…studies； he has at least done something for
us which we can find nowhere else； which we should be very sorry not
to have； and the fidelity of which to Italian life at the beginning
of the last century will not be disputed。
The eighth chapel is that of the Sposalizio； is certainly not by
Aureggio； and I should say was mainly by the same sculptor who did
the Presentation in the Temple。 On going inside I found the figures
had come from more than one source； some of them are constructed so
absolutely on Valsesian principles； as regards technique； that it
may be assumed they came from Varallo。 Each of these last figures
is in three pieces； that are baked separately and cemented together
afterwards； hence they are more easily transported； no more clay is
used than is absolutely necessary； and the off…side of the figure is
neglected； they will be found chiefly； if not entirely； at the top
of the steps。 The other figures are more solidly built； and do not
remind me in their business features of anything in the Valsesia。
There was a sculptor； Francesco Sala； of Locarno （doubtless the
village a short distance below Varallo； and not the Locarno on the
Lago Maggiore）； who made designs for some of the Oropa chapels； and
some of whose letters are still preserved； but whether the Valsesian
figures in this present work are by him or not I cannot say。
The statues are twenty…five in number； I could find no date or
signature； the work reminds me of Montrigone； several of the figures
are not at all bad； and several have horsehair for hair； as at
Varallo。 The effect of the whole composition is better than we have
a right to expect from any sculpture dating from the beginning of
the last century。
The ninth chapel； the Annunciation； presents no feature of interest；
nor yet does the tenth； the Visit of Mary to Elizabeth。 The
eleventh； the Nativity； though rather better； is still not
remarkable。
The twelfth； the Purification； is absurdly bad； but I do not know
whether the expression of strong personal dislike to the Virgin
which the High Priest wears is intended as prophetic； or whether it
is the result of incompetence； or whether it is merely a smile gone
wrong in the baking。 It is amusing to find Marocco； who has not
been strict about archaeological accuracy hitherto； complain here
that there is an anachronism； inasmuch as some young ecclesiastics
are dressed as they would be at present； and one of them actually
carries a wax candle。 This is not as it should be； in works like
those at Oropa； where implicit reliance is justly placed on the
earnest endeavours that have been so successfully made to thoroughly
and carefully and patiently ensure the accuracy of the minutest
details； it is a pity that even a single error should have escaped
detection； this； however； has most unfortunately happened here； and
Marocco feels it his duty to put us on our guard。 He explains that
the mistake arose from the sculptor's having taken both his general
arrangement and his details from some picture of the fourteenth or
fifteenth century； when the value of the strictest historical
accuracy was not yet so fully understood。
It seems to me that in the matter of accuracy； priests and men of
science whether lay or regular on the one hand； and plain people
whether lay or regular on the other； are trying to play a different
game； and fail to understand one another because they do not see
that their objects are not the same。 The cleric and the man of
science （who is only the cleric in his latest development） are
trying to develop a throat with two distinct passagesone that
shall refuse to pass even the smallest gnat； and another that shall
gracefully gulp even the largest camel； whereas we men of the street
desire but one throat； and are content that this shall swallow
nothing bigger than a pony。 Every one knows that there is no such
effectual means of developing the power to swallow camels as
incessant watchfulness for opportunities of straining at gnats； and
this should explain many passages that puzzle us in the work both of
our clerics and our scientists。 I； not being a man of science；
still continue to do what I said I did in 〃Alps and Sanctuaries；〃
and make it a rule to earnestly and patiently and carefully swallow
a few of the smallest gnats I can find several times a day； as the
best astringent for the throat I know of。
The thirteenth chapel is the Marriage Feast at Cana of Galilee。
This is the best chapel as a work of art； indeed； it is the only one
which can claim to be taken quite seriously。 Not that all the
figures are very good； those to the left of the composition are
commonplace enough； nor are the Christ and the giver of the feast at
all remarkable； but the ten or dozen figures of guests and
attendants at the right…hand end of the work are as good as anything
of their kind can be； and remind me so strongly of Tabachetti that I
cannot doubt they were done by some one who was indirectly
influenced by that great sculptor's work。 It is not likely that
Tabachetti was alive long after 1640； by which time he would have
been about eighty years old； and the foundations of this chapel were
not laid till about 1690； the statues are probably a few years
later； they can hardly； therefore； be by one who had even studied
under Tabachetti； but until I found out the dates； and went inside
the chapel to see the way in which the figures had been constructed；
I was inclined to think they might be by Tabachetti himself； of
whom； indeed； they are not unworthy。 On examining the figures I
found them more heavily constructed than Tabachetti's are； with
smaller holes for taking out superfluous clay； and more finished on
the off…sides。 Marocco says the sculptor is not known。 I looked in
vain for any date or signature。 Possibly the right…hand figures
（for the left…hand ones can hardly be by the same hand） may be by
some sculptor from Crea； which is at no very great distance from
Oropa； who was penetrated by Tabachetti's influence； but whether as
regards action and concert with one another； or as regards
excellence in detail； I do not see how anything can be more
realistic； and yet more harmoniously composed。 The placing of the
musicians in a minstrels' gallery helps the effect； these musicians
are six in number； and the other figures are twenty…three。 Under
the table； between Christ and the giver of the feast； there is a
cat。
The fourteenth chapel； the Assumption of the Virgin Mary； is without
interest。
The fifteenth； the Coronation of the Virgin； contains forty…six
angels； twenty…six cherubs； fifty…six saints； the Holy Trinity； the
Madonna herself； and twenty…four innocents； making 156 statues in
all。 Of these I am afraid there is not one of more than ordinary
merit； the most interesting is a half…length nude life…study of
Dismathe good thief。 After what had been promised him it was
impossible to exclude him； but it was felt that a half…length nude
figure would be as much as he could reasonably expect。
Behind the sanctuary there is a semi…ruinous and wholly valueless
work； which shows the finding of the